A mosaic called Aikido

by Dennis Hooker

Whether or not I know the complete history of O sensei's training is
not important to me. I am concerned with the final outcome of his life's
work, and how that outcome can make my life and the lives of those around
me better. Another popular Aikido publication has, for some time now,
been concerned with the roots of Aikido. They look to this art, or that
art, as the foundation of Aikido. Understanding some of the principles
that were used in the development of Aikido may be a good thing. It is
not a good thing if in doing so they are redefining Aikido in the terms
of the arts they are examining.

Morihei Ueshiba was a master craftsmen who blended a mosaic of martial
art and philosophical doctrine into a intricate and beautiful painting.
The master himself, as well as his emissaries offered this work to western
culture, and it was graciously accepted. Many of the elements that made
up this masterpiece had been available to western culture prior to the
arrival of Aikido from Japan, but none had gained a substantial foothold
in the west.

At a time when western (particularly American) culture was not looking
to Japan for anything other than transistor radios and trinkets a movement
was about to be born. Exceptional men armed with O sensei's art, and their
own incredible ability, ventured into what could be perceived as hostile
territory. Nowadays, it is easy to forget what the attitude was like toward
the Japanese people in those early years after the war.

However, the art and philosophy of the founder and his students would
transcend cultural boundaries. If what we read about these early emissaries
is true, not only would they match their skills against masterful martial
artists and prevail, but would win their hearts and loyalty in the process.

As a people we found in this mosaic called Aikido something that was
captivating to us. I think, in part, we recognized in this art of Aikido
the American pioneer spirit. The art was a blend of all that was available
to the founder at the time. When he added to this his compassion for humanity
and all surrounding it, we can, in retrospect, see that the whole of Aikido
is much grater that it's parts. We must preserve the whole of Aikido for
ourselves and future generations. At a time when the fabric of western
morality is being ripped to shreds Aikido is a bastion of hope for our
future. Aikido alone cannot restore the social and moral values of the
nation but it can be a corner stone in rebuilding it. We must not let
the small minds of greedy people rip the fabric of Aikido apart.

As children, my generation, and generations before us were taught moral
and social values and the rewards of discipline at home, at school and
in the church. This is no longer available to many of our young people.
Many of the institutions that help form us are still around, but many
young people have little interest in them. Many of them view morality
as weakness and discipline as something to be avoided. The church is no
longer as strong in the community as it once was, and even if they had
the capability public schools are prevented from teaching morality. Social
values are an issue that neither schools or many churches want to touch.
Many young people today are growing up without a sense of moral or social
values. In Florida we see it every day. Children who kill, rape and steal
and show no remorse beyond than of being caught. In the past we could
write these off to the occasional sociopath. Now it is becoming the norm
rather than the exception.

In talking to many Aikido teachers, I find a growing desire for children's
classes. At first, this desire comes more from the parents than the children.
They find the traditional dojo is a place where their children can learn
life skills that go beyond physical self defence. The children find that
correct discipline can be a good thing, and many hunger for it. The Aikido
dojo is, to a certain degree, replacing more conventional forums for teaching
correct social principles.

We must not forget that O sensei's desire was for Aikido to bring about
peace through love. When I hear Doshu speak of praying for world peace
I believe him, when I hear Saotome Sensei speak of peace through strength
I believe him. It seems that this is a part of the mosaic some people
are beginning to forget. Others are attempting to cover it over with efforts
to redefine Aikido as just another martial art. It is this principle of
peace, not war, that endeared Aikido to our society in the first place.
We must not forget that the Aiki of Aikido has a different meaning than
the Aiki of Aikijujitsu. Let us not lose that distinction. If we chose
to accept the meaning of Aikido as defined by Morihei Ueshiba, and expressed
by his many exemplary students, then we should not feel a need to justify
our art by looking to the past for it's meaning.

Aikido is quickly approaching the main stream of our society. I believe
it is because of O sensei's total art. Not just a piece pigeonholed as
martial, philosophical or spiritual. Some of us may be better at expressing
ourselves at one part of this discipline than another. However, together
we make up the mosaic of Aikido. We need not and should not be replicas
of one another. Let others spend their time looking to the past to find
meaning for what they do in the present. As for me I follow O sensei's
dream as expressed by my teacher and rationalized by myself and look to
the future.

There are those that say O sensei's teachings were beyond understanding.
That he spoke in terms they could not comprehend. They believed his teachings
to be a jumble of diagrams and concepts bearing little relationship to
the physical art of Aikido, and they could not grasp the significance
of it in their learning process. The diagrams he drew and the concepts
he talked about are ancient universal symbols and theories expressed within
his framework of understanding. I am a Master Mason, and many of the principles
I learned on my journey to becoming a Freemason closely parallel the teaching
of O Sensei. I find no contradiction between the two. In fact I find that
one set of principles support the other in my learning process.

There is an old saying, "you can't see the forest for the trees". This
is beginning to happen to the mosaic of Aikido. Some people are so concerned
with the individual parts of the art they can no longer see the beauty
of the whole.

One person will say look at that brush stroke, that is a stroke from
our school. There are more of these strokes than others, so this art work
is a watered down version of our school. Others say no, look at this brush
stroke. It is from our school. There are not as many of these strokes,
but it makes the painting complete, therefore this art work is of our
school. Yet others say no look at the paint, this is what makes the art
work complete. Without the paint there would be no art work. Others would
say that it is the pigment that gives the paint it's color that really
matters. Others say no, look at the canvas that supports the art work.
Without it, the brush and paint would not matter. So it is the canvas
that makes the art work complete. This is commensurate with the makers
of the brush, the paint, and the plaster taking the credit for painting
the ceiling of the Sistine Chapel.

There are people that say if you really want to know what Aikido is all
about come study with the martial arts that were it's source. Although
very viable arts in their own right, they contribute but a portion of
their color and texture to the mosaic of Aikido. The art of Aikido is
greater than it's parts! The source and root of Aikido springs for the
soul of it's founder.